Art collecting 1

INTRODUCTION

In this watched-eyed (ojo avizor) series, I want to reflect on art collecting, from the point of view both as a gallery owner and as a collector, because gallery owners generally also get hooked on collecting works of art. It would be like someone who is dedicated to cooking, not trying their dishes or the dishes of other places where they also cook, be they restaurants, tapas bars, beach bars, etc. I don't know if with this example I am discharging art collecting from stigmas or fears, I hope so because collecting art is not so difficult nor does it have to be expensive and with a bit of experience and a sharp eye, it is possible to find works that They can give a lot of joy, either by their presence in our rooms or by their revaluation.

The term collecting is commonly used to refer to the acquisition of objects with the intention of keeping them.

When talking about collecting, there is an idea that can lead us to the concepts of accumulating, collecting, hoarding or storing. Collecting has some characteristics, collecting is understood as something intentional and ordered.

I am a sociologist and collecting is definitely a way of acting in society. Communities of collectors are created and sometimes collecting becomes a way of life. Collecting technically and culturally stimulates people who collect some type of object. The hobby of collecting can move people to travel, even to travel the world looking for or following objects that they consider can complement their collection. Although it may seem like extreme behavior, collecting and acquiring pieces for a collection is a very positive experience, a great satisfaction. Most collectors say that, in times of economic hardship, having an art collection has allowed them to improve their solvency and get out of the rut. The other day someone told me that he bought a work for what it was worth at that moment in the market, and a stroke of luck caused that work to multiply its value by 20. The question now is what are those factors that make the work multiply its value in such an unthinkable way? If they give me a little time and some deliveries, I am completely sure that we will all develop that sharp eye that allows us to identify the particular where, what and how of each person.

I will attend or comment in private on questions or doubts that come to:

ojoavizor@mardevidaart.com

Allow me also to leave a text about collecting, they are texts in Spanish and I hope the link works. The text is maybe a little dense for the first installment but I hope it helps to start shaping the mind of a collector. Eye! That this is just an example and not a proposal for a specific collection, although each person should understand what interests them most here.

The text is:

Mingarro, E.M. (2010). Chapter 19. Collecting Japanese Art in Spain. Active collectors: Daniel Montesdeoca. In Crossing glances, relationships and exchanges (pp. 301-316). University of Granada.

The link to the text in Spanish, which is freely accessible:

Collecting Japanese Art in Spain (ES)

I hope you enjoy it and see you on the blog.

Respect the copyrights